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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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DUDOOS, THE:
Specium Sommer: CD
Am I looking at the back of the CD right? My contacts are old and dry but I can still see through them. It’s say’s Sound Pollution as the label on it. I was expecting a full blast beat hardcore punk attack. The home to Hellnation and other fast as shit, bugs hitting the windshield kind of punk. Thirty songs in twenty minutes kind of shit. Here Ken throws a fucking curve ball at everyone. He finds the least likely band from Japan to put out on his label. I was surprised to hear a band that sound like the Dickies, Hi-Standard, Toy Dolls, Wizo and the Queers all thrown together as one. Not so angry that your balls are sweaty kind of music, but tongue and cheek, fun and have a dance with your girl kind of music. Bubblegum pop punk that incorporates bad English mixed with Japanese that makes it hard not to crack a smile. I love all the stupid instruments that are added to make things even more cheesy. I can’t get enough of this stuff. You can really feel that this band is having fun and people are going to get the message. They call their music Poko Poko Punk Punkos. Inventive in their description and spot on in the results. I need to drink large amounts of alcohol and pogo as high as I can to put head impressions in my ceiling. –Donofthedead (Sound Pollution)


DSB:
Pure Cultivation: 7"
Now this is more like it…. Three more doses of Japanese hardcore with a healthy bit of metal in the mix. This time it works, mainly because there’s much more mania in their attack than on the Battle into Invisible Zone EP, and that makes all the difference. A nice solid boot to the noggin’ here. –Jimmy Alvarado (Kangaroo)


DSB:
Battle into Invisible Zone: 7"
Uh, no, this ain’t cuttin’ it. Japanese hardcore, heavy on the metal, which ain’t an asset in this case. –Jimmy Alvarado (Kangaroo)


DROPKICK MURPHYS:
Blackout: CD
The first Dropkick Murphys album, Do or Die, was an amazing album. I still listen to it. The five or six CDs they’ve released since then pale in comparison. Not only that, but they seem to be getting progressively worse. They have a good formula. It’s fun to sing along with their anthems. The songs are catchy and tough, sometimes funny and sometimes poignant. They still take the best elements of the Pogues and the Clash and the Business and make it sound good. They’re just not covering any new ground, and they’re not developing as a band. If I heard this album and I’d never heard anything before by the Dropkicks or by any other band that sounds like the Dropkicks, I’d really like it. But I have heard Do or Die and I have heard all the bands that have influenced the Dropkicks and all the bands that the Dropkicks have influenced, and Blackout just sits in the middle of that pile. It’s not bad. To tell the truth, I kinda like it as background music. Mostly, though, these guys are too talented to wallow in the mediocrity that they’re wallowing in. –Sean Carswell (Hellcat)


DREXEL:
The Inevitable Is Available: CD
Hey Warped Tour, look out! Here comes Drexel. Hot bods are lookin’ to buy! –Megan Pants (Fork In Hand)


DRAGONS:
Sin Salvation: CD
Never heard so much as a note from these guys, but have heard good things about them, so I was looking forward to this listen. What I’m hearin’ are jams rooted in the Thunders School of Punk, updated and charged with post-hardcore aggressiveness. The result is a band that could easily share a bill with bands like Smogtown and the Stitches and yet still turn some heads among those who prefer to slum strictly in the Scandinavian rock ghetto. While this style is usually not my cup of tea these days, thanks in no small part to the seemingly endless hordes of clone bands polluting the genre’s gene pool, this particular release was pretty friggin’ rockin’. –Jimmy Alvarado (Gearhead)


DON’T LOOK DOWN:
Five: CDEP
They tricked me for the first twenty seconds. A rock’n’roll intro of the Runaways kind. Ahhh, but then they turn into the latest Sum 182 rip-off. –Megan Pants (Nitro)


DON’T LOOK DOWN:
Five: CDEP
If someone tells me that they want to hear The Doughboys, I’m gonna slap on some Big Drill Car, fuck you very much. Same goes for this band if someone has a request with their name on it. –Designated Dale (Nitro)


DOA/THOR:
Are You Ready: CD
DOA: Although their opener, “Are U Ready” was pretty weak, their other five tracks are pretty strong, which is surprising considering how listless and uninspired their last release was. So far as I can tell, a few of these tunes are reworkings of older tunes, but they are pretty swell nonetheless. Thor: Remember seeing him bend a hunk of steel with his teeth once on a heavy metal video comp my friend Matt owned, which sent all in the room watching rolling on the floor in fits of hysterical laughter. That first impression has managed to stick with me, lo these sixteen years, making reviewing objectively his tracks here next to impossible. When he goes into a tune like “Gladiator Stomp (Arena Anthem Chant),” I feel the giggles percolating deep in my gut and, next thing I know, I’m rolling on the floor once again, gasping for breath and trying not to draw my wife’s attention for fear that she’ll have me locked up or something. –Jimmy Alvarado (Sudden Death)


DISCIPLINE:
Rejects of Society: CD
Nope, this one ain’t working for me at all. Pretty run-of-the-mill oi boy fodder. Should’ve known better than to expect much from a disc with a cartoon drawing of boots on the cover. –Jimmy Alvarado (Captain Oi)


DIE MONITR BATTS:
Youth Controllers: CD
Imagine Le Shok playing no wave-inspired free jazz instead of ripping off the Screamers and you pretty much get the gist of what this sounds like. Makes me kinda wish I had a radio show, ’cause this is exactly the kinda stuff I would play to scare off anyone tuning in thinking that they’re gonna hear the latest smash hit from Blink 182. Fuck, I don’t know whether to keep it or send the fucking thing spiraling into the nearest wall. I guess it can be construed as a glowing review, because, even if it’s for all the wrong reasons, I’m diggin’ this disc quite a bit. Might even top my “Greatest Releases of 2003” list. –Jimmy Alvarado (Dim Mak)


DEMINER:
Woes and So’s: CD
Pretty generic power-pop without much power… or hooky-ness to make it pop, which doesn’t leave you with much. –Megan Pants (Johann’s Face)


DEATH BY STEREO:
Into the Valley of Death: CD
Just this past April, I found out about the aural assault that is Death By Stereo, thanks to the suggestion of long-time fan Clint Weinrich, aka, The Torrez. You see, Torrez had the pleasure of growing up next to members of this band years ago, before Death By Stereo was the full-fledged, fuck-it-up machine they are today. So when he told me that DBS “isn’t afraid of the rock,” I was instantly curious to hear and see what these guys had in store for me. What they do have is ROCK, and plenty of it, cocko! This is the type of band that wipes its ass with those “nu-metal” bands (whatever the fuck that means) like Korn, Slipknot, LinkinPark, or Limp Bizkit. That’s right, hotshot – eats them, shits them out, and wipes their ass with them. Metal with a heavy, deadly groove that’s just as deadly being punk as fuck; the way it’s supposed to be played. The way that would make a band like Motorhead or Slayer nod with approval, not because DBS sound like either one of the above-mentioned bands, but because DBS embraces metal with their own architectural thunder. Lyrics about fucked up people and fucked up things in a country we all still love to be a part of. I especially like the lyrics to “Shh, It’ll Be Our Little Secret,” a song about the exposed cover-ups regarding sex offenders within the Catholic church: “Skeletons in your closet, you’re not looking too smart/I should take your cock and shove it straight through your heart.” Hear that, Fr. Mike Baker, you fucking scumbag? And I can’t dig enough song titles like “I Wouldn’t Piss in Your Ear If Your Brain Was on Fire” or “You’re a Bullshit Salesman with a Mouthful Of Samples.” If Sharon Osbourne is half the business genius that everyone goes on about, she’d get DBS signed up to the OzzFest and watch them obliterate the other acts on tour alongside them, night after night after night. In fact, I fucking double-dog dare her if she’s reading this. Death By Stereo, dear readers – ask for them by name. –Designated Dale (Epitaph)


DEADLY SNAKES, THE:
Ode to Joy: LP
Remember when Superman went to Bizarro World and everything was the opposite of what it was on Earth? Like, Superman was a bad guy, and people would say “Goodbye” instead of “Hello?” Okay, this is kind of the Bizarro World version of the Gories: white guys from Canada who know how to play their instruments. Imagine if the Bizarro Gories got Otis Redding to write their songs for them and Phil Spector decided to produce the resulting album instead of End of the Century. This would be that album. But since that description makes no sense, I’ll say this: if you listen to this record between the first Seeds album and Exile on Main St. by the Rolling Stones, you won’t notice much of a difference. –Not Josh

 

–Guest Contributor (In The Red)


DEADLY SNAKES, THE:
Ode to Joy: CD
More bluesy rock from In The Red, this lot being a pleasant and enjoyable ride through the poppier side of the garage rock of the ‘60s, with shades of Dylan, the Kinks and labelmate Dan Melchior, and augmented with various keyboards and maybe horns, and one of the guys is named Age of Danger. What the hell kind of name is that? –Cuss Baxter (In The Red)


DEADLINE:
Back For More: CD
Not the old DC band, but rather some mighty fine pop-infused punk from a band that looks to be comprised primarily of skinheads. Their female lead singer has a great voice in a Becky Bondage kinda way, and the songs are speedy for the most part and hella catchy. –Jimmy Alvarado (Captain Oi)


DEAD KINGS, THE:
For All Those Hot Black Chicks: CD
Baloney Shrapnel/Scumfuck Confederacy-inspired rockin’ grime, just not as mighty as Cocknoose, who does it like it’s supposed to be done, god bless ‘em. Interestingly enough, there’s a quasi-interview snippet at the end of this disc with Beetlejuice, a wackpack regular from the Howard Stern Show. From what it says on the Dead Kings’ website, it’s from a VHS rant the band received a while back. Beet’s asked what he thinks about The Dead Kings and it’s pretty funny listening to his scatterbrained replies (as usual, if you are a regular listener of Howard’s show). It’s too bad the Kings didn’t get a VHS transfer of that rant on their disc here – it would’ve been a cool CD-ROM. Loud rocking and a great sense of humor, to boot. Check these North Carolina boys out. –Designated Dale (The Dead Kings)


DEAD BY DAWN:
Self-titled: 7"
I liked the Squeaky Fromme quote lifted from the movie Manson and the lyrics are well written, although a tad preachy; however, there’s way too much metal in the mix to suit my tastes. Next. –Jimmy Alvarado (www.borntodie.com)


DAMAGE DEPOSIT:
Do Damage: 7" EP
With the great cover art of bloody croquet mallets held aloft in front of the White House, you know you aren’t dealing with the Care Bears. It’s ruthless DIY thrash helmed by Felix Von Havoc (ex-Code 13, MRR columnist, owner of Havoc Records). It tackles the gamut of how video games are encroaching hardcore, to Minneapolis actively trying to shut down its all-age venues, to not wanting “to wear a mouth guard and a nut cup” while playing and getting karate chopped by a new and wacky hardcore dance. The songs are literal and explicit – they read like a well-written scene report with twenty years of reflection seeped in. The music is breakdown-heavy, tight, and straight-ahead hardcore that puts hundreds of youth crews to shame. –Todd Taylor (Havoc)


D.O.A:
Hardcore '81: CD
Do you ever wonder why you were so damn angry as a teenager? Consider the popular music of the time. “Bette Davis Eyes” by Kim Carnes, “Endless Love” by Diana Ross and Lionel Richie and “Lady” by Kenny Rogers ruled the charts as the top three singles of 1981. Hearing these songs over and over is enough to make Gandhi want to give the pope a haymaker to the side of the head. It’s almost inconceivable that an album like Hardcore ‘81 could even exist in the same frame of time that pabulum like this was sucking all the air out of the world. But as anyone who likes punk rock knows, the best work is done in a vacuum, especially if that vacuum insulates you from the world of pop music. D.O.A. reflect blue collar values in both their music and their work ethic. They seemed to be on tour almost perpetually throughout the 1980s, making them one of the hardest-working and most-appreciated bands in the punk business. Hardcore '81 is evidence of this. What we've got here is fourteen punchy songs with sing-along lyrics and minimal, but never sloppy production. What else do you need? Lots of timeless faves are here, including "D.O.A.," "001 Losers Club," "Fucked Up Baby," and more. Also included on this CD is D.O.A.'s 1984 four-song E.P. Don't Turn Your Back on Desperate Times. These are four tight, angry, politically-charged anthems that absolutely deserved to see the light of day again. It's an excellent bonus to a must-have album. D.O.A. is a truly important and essential punk outfit, but they will probably never get a decades-delayed or posthumous nod of approval from the mainstream music establishment in the way that the Sex Pistols, Clash and the Ramones have. Is this a bad thing? From a fan's standpoint anyway, staying off the big shot's radar is a blessing. It means that we will never be overwhelmed with the butt-puckering wave of nausea that would come from hearing "Slumlord" or "My Old Man's a Bum" used as the musical background in a cell phone or luxury car commercial. For what it's worth, the people who matter know D.O.A. and Hardcore '81 rule all hell. – Jeff Fox –Guest Contributor (Sudden Death)


CURLEE WURLEE:
Picture disk: 7"
It’s sung by a female with a French accent, has a deep shag/ porno keyboard high in the mix, sounds like it was recorded in the ‘60s, is trippy/groovy and has a picture cartoon of a girl on a Vespa on the vinyl. Maybe if they were all naked, took the volume eleven knob off the keyboard, or perhaps, rocked, it’d be passable. In my book, it sounds like Nico fronting Simon and Garfunkle. Yerks. –Todd Taylor (www.curleewurlee.de)


COUNTACH:
Huge Rock: CD
If these guys think they have friends, they are so wrong. No friend would let them commit, not only this worthless drivel to a CD, but also, c’mon – there are some people who should keep their shirts on in pictures. And this is coming from a lady who likes a keg more than a six-pack around the bellies of her men. Hairy man-tits are just a whole ‘nother ball park there, cappy. –Megan Pants (RockMafia)


CONTRACT KILLERS, THE:
Dressed to Kill: CDEP
Watch out! Comparisons to other bands that will mean nothing to most readers incoming! This sounds like a combination of Moral Crux and the Dimestore Haloes. Meaning, basic pop punk mixed with rock and roll sound, and lyrics about drinking, drinking, drinking, and girls. Catchy stuff, but with some pretty cheesy lyrics. Still, I’d check ‘em out in a basement somewhere for sure! This is Golden Grahams. Pretty good. –Maddy (International Crime)


COCAINE PIÑATA: : CD:
Rock That Shocks the Town: CD
Loud, chaotic punk rock that’s hard to compare to anyone, not because they don’t sound like anyone, but because no one has heard of all the bands they sound like. Hell, I’ll give it a try anyway. Imagine Even Worse on amphetamines – tough ass female vocals and everything sped up to the point that it’s sloppy as hell. Folks who remember and love Tucson’s The Blacks would be well-advised to check out Cocaine Piñata. –Sean Carswell (Cocaine Piñata)


COBARDOS, LOS:
Hot As a Bitch on 45: 7"
Pro: this is the thickest record I think I’ve ever held, and in magenta wax to boot; free sticker; four songs of “rock and fucking roll” that sounds like the Hellacopters doing oi. Con: “Hot as a bitch”? “We’re so fucking high and crazy”? “When we come along the crowd goes raging hell”? Okay, that last one’s pretty pro, but lyrically this whole thing is so ridiculously over the rock’n’roll top that the music behind it can’t possibly live up, and it doesn’t. But, “The things went crazy and the crowd goes wild.” –Cuss Baxter (Straight Outta C-Town Muzique)


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